A better half to Martin Scorsese is a accomplished selection of unique essays assessing the occupation of 1 of America’s so much admired modern filmmakers.
Contains contributions from famous students in North the US and Europe that use quite a few analytic approaches
Offers clean interpretations of a few of Scorsese’s such a lot influential movies, together with suggest Streets, Taxi motive force, Raging Bull, Goodfellas, Gangs of recent York, and Hugo
Considers Scorsese's position in the historical past of yankee and global cinema; his paintings on the subject of auteur concept; using well known track and diverse subject matters resembling violence, ethnicity, faith, sexuality, gender, and race in his movies, and extra
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Extra info for A Companion to Martin Scorsese (Wiley-Blackwell Companions to Film Directors)
The change to the title Mean Streets was not isolated; it was part of a larger movement within the script and film as a whole to make the film more socially intelligible to a wider constituency. The reference to Raymond Chandler in the title is merely one of many allusions the film makes to American popular culture, especially Hollywood cinema, as an attempt by Scorsese to locate Mean Streets within a filmmaking tradition. The characters in the film may be from a culturally specific group, but this culture has now been transformed by its connection with the world of mass entertainment represented by Hollywood cinema.
2006) Gangster Priest: The Italian American Cinema of Martin Scorsese. Toronto: University of Toronto Press. Ebert, R. (1997) When Taxi Driver meets Pulp Fiction. Chicago Sun-Times (February 9, 1997). Farber, S. (1975) Has Martin Scorsese gone Hollywood? New York Times (March 30, 1975): C1, C13. Geraghty, C. (1976) American cinema in the 70s: Alice Doesn’t Live Here Anymore. Movie, 22: 39–42. How Scorsese Became Scorsese 37 Goldstein, R. and Jacobson, M. (1976/1999) Martin Scorsese tells all: blood and guts turn me on!
And there you have the difference between the work of Paul Schrader and Quentin Tarantino” (Ebert, 1997). In the same article, Schrader describes his understanding of the ironic or postmodern view of art: “Everything in the ironic world has quotation marks around it. You don’t actually kill somebody; you ‘kill’ them. ” It is this postmodern irony that would be so often accused of nihilism in the following decade. This accusation of nihilism would extend beyond the journalistic realm detailed by Sconce.
A Companion to Martin Scorsese (Wiley-Blackwell Companions to Film Directors)